My name is Melodie Campbell, and I write comic mob capers for a living. And for the loving. So I know a bit about the mob. Like espresso and cannoli, you might say they come with my Sicilian background.

This should make people nervous. (Hell, it makes ME nervous.)

But I digress. To recap: the question offered here was:

Do you ever take out real life rage on fictional murder victims? Are any of your victims based on people who pissed you off in real life?

Oh sweetie, don’t I ever.

One of the joys of being a writer is playing out scenarios in your fiction that you dream about at night. One of these is murder. (The other is sex, but that would be my other series, the Rowena Through the Wall fantasy one.)

Back to grievous bodily harm. Like in Gilbert and Sullivan’s Mikado, I have my little list.

To the covert colleague who made out to be friends and then bad-mouthed me to the board at a previous job.

Yes, you got caught red-handed. I called your bluff. But better than that, I made your mealy-mouthed sorry hide a star of THE GODDAUGHTER’S REVENGE. Goodbye, Carmine the rat. You live forever in fictional history.

He never will be missed.

To the sociopathic boss who undermined an entire department and got a kick out of making my sweet younger colleague cry: may you age like a hag and end up alone. Oh wait – you did. And not just in A PURSE TO DIE FOR.

She never will be missed.

Oh, the joy of creating bad guys and gals from real-life creeps! The crafty thing is, when you design a villain based on people you have met in person and experienced in technicolor, they sound real. Colourful. Their motivations are believable, because they actually exist. No cardboard characters here!

Of course, I may fudge a few details to keep out of jail. Names and professions change. Males can morph into females.

But fictional murder can be very satisfying. (Definitely more satisfying than fictional sex. Oops.)

Revenge is sweet, when coupled with royalties.

You can ignore that crack about 'fictional kills only.' Of course we’re only talking books; in my case, light-hearted murder mysteries, and mob crime capers.

That’s right: mob capers. Like I said: never mess with a Sicilian Goddaughter.

Melodie Campbell achieved a personal best when Library Journal compared her to Janet Evanovich. Her fifth novel, THE GODDAUGHTER’S REVENGE, won the Derringer and the Arthur Ellis. www.melodiecampbell.com

13 September 2014

Back in 2012, when Steve Steinbock reviewed The Goddaughter in Ellery Queen’s Jury Box, I was ecstatic. <So was my publisher. Ellery Queen ROCKS!>

Steve called my book hilarious. I called Steve my hero. Little did I know, two years and three books later, that he would be tagging me on SleuthSayers.

Oh Steve, thy devilish one.

Many of you remember Steve from the days of ‘Criminal Brief, the blog.’ <There are a hundred ways in which I want to play with the word ‘brief’ right now, but I will refrain.> Steve and I met years ago at a Bloody Words Mystery conference in Toronto. We discovered that, as teens, we shared a mutual pash <lovely Brit expression there> for Dark Shadows, the original series.

I like and respect Steve. I also fear him slightly <EQ and all> so hastily accept the tag.

What Am I Working On?

The Goddaughter Caper. Or A Coffin for the Goddaughter. Or A Body for the Goddaughter. Or The Goddaughter’s Coffin Caper.

Somebody help here! Book 4 of the Goddaughter trilogy <sic> is nearing completion, and I need a title. I started with the 3rd example in the list above. I’m leaning toward the first. Of course, Orca Books may throw all those out and come up with their own, but I’d still like to hear from readers in the comments below.

Gina Gallo and her inept mob family are back in biz. This time, bodies are showing up in all the wrong places. The second book in the series, The Goddaughter’s Revenge, won both the 2014 Derringer and Arthur Ellis awards for best crime novella. <author is over the moon> The third in the series, The Artful Goddaughter, came out last week.

For those new to the series: Gina is a mob goddaughter in the industrial city of Hamilton (The Hammer.) Try as she might, she can’t seem to leave the family business.

How Does My Work Differ From Others In The Same Genre?

Library Journal said it well: “Campbell’s comic caper is just right for Janet Evanovich fans. Wacky family connections and snappy dialog make it impossible not to laugh.”

When people ask what I write, I say ‘comedies.’ Then I give the genres (crime capers and time travel fantasy.) My books are comedies first and foremost. I look for plots that will lend themselves to laughs.

Why Do I Write What I Do?

A Greek Mask

Some people are born beautiful. But most of us aren’t, and we look for ways to survive the slings and arrows of life. Sometimes we choose to hide behind a mask. That Greek Comedy mask was the one I picked way back.

Comedy is Tragedy Barely Averted

My younger brother is autistic. Our home life was stressful and at times, sorrowful. When I was a teen, as a means of self-preservation, I looked for the ‘funny.’ More often than not, I made fun of myself. This was easy to do. I knew the target well and there was a wealth of material. And it didn’t hurt anyone else, so people liked it.

When I left school and had a ‘real’ job, I started writing stand-up on the side. I rarely delivered it – usually I wrote for others. That led to a regular newspaper humour column, and more.
So when it came to writing novels, I fell back into ‘safe mode.’ Write it funny.

How Does My Writing Process Work?

I teach Crafting a Novel at Sheridan College in Toronto, so I’m pretty immersed in craft. Not surprisingly, I’m a plotter. I don’t start writing until I know the ending. But I’m a forgiving plotter. I don’t plan out every scene.

Sometimes a plot idea will trickle around in my mind for a year. When the ending clicks in, I sit down to do a basic three-act plot diagram. I teach this method, and I use my own books as examples.

So… once I have my inciting moment, first, second and third crisis, and finale firmly in my head, I sit down to write. I start with the opening/inciting moment. Then I usually skip to the ending, and write the climax and finale. Then I go back to the beginning and write forward.

For me, it’s important to know that I like the characters and plot enough to stay with that story for the months to come. That’s why I write the beginning before I spend much time doing outlines. I need to know that I can live in that world, and enjoy it.

Advice to aspiring writers:

It's not romantic. But it's the truth. If you are going to be a writer, you have to love the actual act of writing: by this I mean, hands on keyboard, butt in chair, all by yourself, pounding out stories that the characters in your head are demanding you tell.

Of course, coffee and a wee dram o’ whiskey help.

Melodie Campbell drinks coffee and single malt somewhere south of Toronto. The Artful Goddaughter is now available in stores and online.